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" nd many good folk also that hated her
living, and glad wer to se sin corrected:
yet pitied thei more her penance, then
rejoyced therin, when thei considred that the
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protector procured it, more of a corrupt intent then
ani vertuous affeccion."
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(Thomas More, The History of King Richard III)
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No Salvation For Witches by Rafael Chandler

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Adventure Edited by Matthew Pook and Jack Shear
Cover Art by Jason Rainville
Interior Art by Jason Rainville and Ian MacLean
Cartography by Ian MacLean
Design by Sarah Richardson
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First Edition, First Printing 2014

Printed in Finland by Otava Book Printing Ltd.

LFP0040
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ISBN 978-952-5904-58-1 (Print)

ISBN 978-952-5904-59-8 (PDF)

No Salvation for Witches text © 2014 Rafael Chandler

Issued under exclusive license to Lamentations of the Flame Princess

www.lotfp.com
 Table of Contents

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Preface 5 Locations 19
1. Woods 20
2. Edington 21
Setting 6
e 3. Pond 24
4. Forsgreave 26
5. Pendle Moor 29
Backstory 7
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Characters 8 The Priory 34
1. Infirmary 35
1. Orelia Woolcott 8
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2. Cloister 36
2. Primogenitor 10
3. Stables 36
3. Bishops of the Synod 12
4. Balneary 37
5. Pigsties 39
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The Spheres 17 6. Church

7. Attic
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45

Tract of Teratology 51
Overview 52

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 Preface

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This is not a low-prep adventure.

NSFW is a cheerfully gory adventure inspired by slasher movies and heavy metal.
This isn’t grimdark, it’s glibdark. Have fun!
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The whole thing takes place over a period of 24 hours, beginning with the player
characters crossing the threshold of the outer sphere (more about that in just a
moment). From that point, start tracking time, keeping a rough idea of how many
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hours a given task takes. After 24 hours, the ritual is complete, and you can skip to
the section marked “If the Ritual is Completed” towards the back of the adventure.
The player characters may not even realize that a ritual has taken place. So much
the better; the changes to their world will eventually become apparent, and they
may come to realize that they were present when those alterations were made.
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Like insects crawling through a clockwork mechanism, characters will engage with
the challenges of this adventure on their own terms. They may not fully compre-
hend all that they experience. They might only see some of the moving parts. They
could die in agony, or triumph and emerge unscathed. All of this is acceptable.
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In the same way that the inner workings of a clock is eventually opened for winding
or maintenance, possibly permitting the insects to escape, this adventure follows
an established timetable, and when it is concluded the characters will be free. Until
then, they will face the weird.

They will make decisions. Dice will hit the table.

The characters might stride forth laden with spectacular treasures and world-bend-
ing magics, or perhaps they will limp away, mutilated and horrified.

The choice is not yours.

5
 Setting
The adventure takes place in Caversdale,
England, sometime in the late 1620s.
Characters may hear rumors about this
place and its haunted priory, or they
may stumble across it while traveling to
another location.
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Times are hard. The Price Revolution
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has brought fresh misery into the lives of
peasants. Between 1500 and 1625, the
population of England increased from
2.6 million to 4.6 million. Furthermore,
the supply of precious metals increased
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due to the arrival of ships bearing gold
and silver from the New World, and
from increased production of silver
in Europe. As a consequence of the
aforementioned rise in population and
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availability of precious metals, the cost
of living increased dramatically, with
the price of some goods multiplying
fivefold or sixfold. Food is so expen-
sive that many peasants simply starve
to death, or find themselves eating the
heretofore unthinkable.
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In this time of desperation and un-
certainty, a Magic-User named Orelia
Woolcott takes control of a priory by
force, and sets into motion a series of
strange events.
The land surrounding Caversdale Priory
(full name: the Priory Church of the
Blessed Virgin Mary, Caversdale) has
been warped by the magics that Wool-
cott unleashed. Aided by her coterie,
Woolcott plans to perform a ritual that
will permanently alter human society
across the globe.
Caversdale Priory squats between a forest
and Pendle Moor; there’s a village to the
northwest and a smoking ruin to the
east. All of these places—the priory, the
villages, the moor—have been contami-
nated by sorcery. Woolcott’s magics are
difficult to control and they have pro-
duced strange (possibly lethal) phenom-
ena throughout the region.
 Backstory
Four years ago, the priory (which was
shut down during the Dissolution of the
Monasteries) was taken over by Richard
Grey, an abbot of some standing.
Accompanied by monks, nuns, and e captivated by Orelia’s conviction and
villagers seeking work, Grey entered the
abandoned Caversdale Priory and
declared it a house of God once more.
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He found the priory’s hidden treasures,
fenced them, and used the silver to feed
the poor and shelter those without
homes. All was well.
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Two days ago, a group of dancers, led by
a charismatic Magic-User named Orelia
Woolcott, seized control of the priory.
They’ve spent their days in pursuit of
artistic expression, and their nights in
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pursuit of occult wisdom. They believe
that through their dance and their
passion and their study, they have
allowed Orelia to open a door to another
realm—one inhabited by Terpsichore,
Greek muse and patroness of dancers.
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Chaos ensued. Though Orelia and her
entourage did not resort to violence,
the inhabitants of the priory were ter-
rified, and most of them fled. Some,
sentiments, remained.
Those who left the priory found two
things: first, it was proved impossible
to leave the area, as a vast and invis-
ible sphere, nearly ten miles wide,
had manifested about the priory and
surrounding environs; second, the area
was rife with terrors, brought through
when Orelia wrested open the portal to
a distant realm.
The spinning movements of the dancers
in the church have produced whorls
of sorcery which resemble miniscule
typhoons wrought from lightning or
fire; these spirals proceed away from the
priory in circular patterns, transforming
the world around them as they move.
Their presence accounts for the defor-
mity of the abbot Richard Grey, the
strange appearance of the maidens he
travels with, the amorphids in Pendle
Moor, and so on.